Looking to the designer herself, the hair, makeup and nails had a bohemian vibe at Rachel Zoe. Makeup artist Charlotte Tilbury referenced a carefree Kate Moss when developing the face. She prepped skin with Maybelline Dream Fresh BB and contoured cheekbones and temples with Maybelline Dream Matte Mousse in Cocoa Dark. She coated eyes with a mixture of Cocoa Dark and Maybelline Eye Studio Color Tattoo 24HR Cream Gel Shadow in Bad to the Bronze for a neutral smoky effect. Tilbury then brushed Maybelline Volum' Express The Mega Plush mascara through lashes to complete the eye. She gave cheeks a fresh flush using a mix of Maybelline Dream Bouncy Blush in Fresh Pink and Rose Petal, and naturally enhanced lips with a combination of Maybelline Color Sensational Lip Liner in Nude 20 and Maybelline Baby Lips in Quenched. For a touch of quirkiness and charm, Tilbury drew freckles across the nose with Maybelline Eye Studio Master Shape Brow Pencil in Soft Brown. Hair advanced the languid vibe with a sexy bedhead look inspired by Marianne Faithfull and Brigitte Bardot.

Odile Gilbert prepped locks with Kérastase Mousse Volumactive for lift and texture and Kérastase Fibre Architecte to seal split ends. She then blow-dried hair with a round brush and formed finger curls all around the head that she pinned in place for extra volume. Right before the show, she released the curls and brushed them out, spraying on Kérastase Double Force hair spray to set the look. Gilbert gave some models temporary bangs with extensions that she cut herself on the spot. She created a braid on top of the head and sewed the bangs directly into the braid shelf for the show.

To round out the look, manicurist Honey mixed three shades for nails. She concocted a hue comprised of Maybelline Color Show Nail Lacquer in Sweet Clementine, Porcelain Party and Born With It for a sherbet polish that she described as "dreamsicle."

A field of turquoise blue from the forthcoming Eyes to Kill Collection was applied on the lids and eyeliner in silvery-blue was traced along the upper eyelash. A thin, black line was drawn close to the lash and false lashes were set.

"It's very interesting because when you use graphic shapes, you don't really do an eyelash, so it's a bit of a mash up, which I love,” Cantello said.

Complexions were smoothed with Maestro Fusion Makeup SPF15 and eyebrows were filled-in without an arch. Lips were coated in transparent, matte Color Zero from the Lip Maestro line.

Hairstylist Franco Gobbi created an asymmetrical, graphic cut that was short on one side and long on the other, inspired by a mix of the Sixties and Nineties.

A ridge wave was pushed in the front of the face to cover one eye, created by a severe, low parting. With Moroccanoil products, hair was spilt into two sections. The crown was sectioned out and hair was pulled to one side, packed back to make a "small head profile,” covered with the top hair and the crown hair to make the graphic wave.

Luminous Hairspray Strong was used to tame flyaway hairs on the nape of the neck and to coax them into shape.

The Asian influence in Peter Dundas’ Spring collection for Emilio Pucci was evident long before models got into their first looks, following a casual round of Champagne drinking and conversation. “It’s Indochine in a modern way,” Luigi Murenu said of the ivory hair pins carved with elaborate dragon motifs that he slipped through long, center-parted half-up, half-downs. “We have to keep it quite Pucci, though,” he added, pointing out that the reference couldn’t be too literal as to abide by the house’s DNA, which necessitates a girl that “has an easy approach to hair but is stylish.”

Prepping elongated strands with Phyto Professional Intense Mousse, Murenu created a painstakingly straight texture with a slick of John Frieda Frizz Ease before cutting short wispy pieces around the face for “modernity and coolness.” As the coiffing star finished his last girl, Dundas made a surprise guest appearance in his chair to get a touch-up before the show. Setting him up with a makeshift barbershop gown, Murenu treated the designer’s signature curls to a few scrunches of Kérastase Nutritive Oleo-Relax Serum.

Lisa Butler kept her nods to Dundas’ Eastern influences duly light-handed. “It’s a concept, not really a reference,” the face painter said of the makeup’s “Zen simplicity.” Rimming lids with MAC Eye Kohl in Smoulder before deliberately removing the black pigment to leave behind just a trace of sultriness, Butler placed a “blob” of its Chromaline gel eyeliner in White above the center of the upper lash line and blended it for “dimension.” Before models hit the runway, Butler added a slick of gloss to lids and a dusting of powder through the T-zone so girls looked a “bit more done.”

Peter Philips likes to think outside the box. The makeup artist known for his way around a perfect complexion and a gorgeous rose-petal pink or red lip is just as often referenced for mixing makeup mediums—an embroidered eyelash here, a precious gemstone brow there. Blame it on his art school education. At Fendi, it was the latter inclination that, er, stuck. “The idea was to use colors from the collection, and the best way to do that is to use the actual collection,” Philips said as he glued pre-cut fabric strips onto models’ lower eyelids.

“It was a bathing suit,” Philips explained of the neoprene swatches in peach, teal, royal blue, neon orange, tan, and yellow that he placed beneath the lash line in a three-part system: “There is black on the bottom, pointed outward,” he elaborated, followed by a color strip in the middle, and a shorter, brighter piece on the inner corner. “After rehearsal, I noticed the blue really worked,” Philips said of why most models ended up with the same royal blue center. Otherwise, faces were left bare to appear “more young and playful” and less “theatrical”—a directive that came right from Karl Lagerfeld, who dropped by to pay his respects. (”I didn’t want to interrupt you; I just wanted to say hello,” the designer said to Philips in passing). Never one to miss a nail opportunity, Philips added to the season’s neutral polish palette with a nude-salmon varnish, the result of Chanel Le Vernis Nail Lacquer in Ming, a warm, shimmering pink, mixed with white and a few drops of its Mimosa, a sunny yellow.

The same pastel colors could be spotted in a range of embellished headbands that Lagerfeld made for the show to accessorize Sam McKnight’s “sharp, aerodynamic” updos. “It’s not soaking-wet,” McKnight explained of what he ultimately deemed a “malleable, sea-wet” texture, the result of strands that had been prepped with Frederic Fekkai Marine Summer Hair Beach Waves and divided into four sections. Creating a flat bun in the back to remove excess weight, McKnight folded hair over from one side followed by the other, which was twisted and pinned down. Having left the top section free, McKnight ultimately rolled that backward, attaching it to the finished coif. “There’s about 40 pins in each girl,” he estimated, “so we’re not advising them to go to the airport anytime soon.” Zing!

Domenico Dolce and Stefano Gabbana’s ever-present homage to their native Sicily makes for a reliably gorgeous hair and makeup look, as there’s not much that can top the southern Italian island’s reputation for classic, sexy beauty. “It’s Sicilian summertime,” Pat McGrath said of her specific direction for Spring, which meant a pink, rose, and apricot flush paired with an elongated eye. “There’s nothing heavy,” she emphasized. “It’s about shape, glow, and perfect skin.”

Creating a base with Dolce & Gabbana The Makeup Luminous Liquid Foundation, McGrath indulged in some blush—three of them to be exact, in Sole, Mocha, and Apricot—which she swept across cheekbones and up toward the temple for a warm radiance. “[The designers] also showed me this fab picture from Avedon,” she said, motioning to a black-and-white fifties-era glamour shot that hung from a mirror and prompted her to draw on “a more modern version” of a cat-eye that was extended from upper and lower lash lines that had been completely rimmed using a combination of Dolce & Gabbana’s Crayon Intense Eyeliner in Chocolate and its Khol Pencil in True Black. “Use the pencil first,” McGrath advised for achieving the perfect flick, which she initially drew on with the Khol Pencil and then retraced with its liquid Glam Liner in Black Intense for added opacity and drama. Lids received a dusting of pale gold shadow from Dolce & Gabbana’s Eyeshadow Quad in Desert before McGrath dabbed its Classic Cream Lipsticks in Chocolate and Iconic onto mouths, blotting with her fingers as she went to leave a faint wine stain that was slightly darker around the cupid’s bow. “There’s a lot of bold colors in the collection,” she explained; no need to overdo it on the face.

“Dolce really understands the beauty of a woman,” Guido Palau effused as he added to the narrative with an “updo,” as he called it. “It’s not really a twist or a knot,” he insisted of the folded and pinned coif that was decorated with 79 different silk scarves, one for each model that walked in the show. “There’s a lightness and desirability,” he continued of strands that were rough-dried with Redken Aerate 08 Bodifying Cream Mousse and meant to resemble “how a Sicilian woman would just tie her hair up in a scarf.” As Josephine Skriver held her printed accessory close to her head, Palau tied it at the nape of the neck and slightly askew, making sure the hairline was visible. “The rough texture makes it softer and more feminine,” he said, offering up a few pointers for proper scarf-wearing, including this one: “Make sure it’s touching the ears,” he added, positioning the crisp fabric accordingly. “That helps loosen the idea.”

Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.

“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.

Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.

MILAN — Makeup artist Tom Pecheux described the Sixties throwback style for the Moschino spring collection as “youthful and fun.” Using MAC Cosmetics products, Fix+ and Prep + Prime Moisture Infusion were massaged into the skin and Moisturecover Concealer streamlined pink tones. To signify a retro look, eyes were outlined in white matte Fascinating Eye Kohl Pencil and set with Gesso Eye Shadow. Fake eyelashes — number 35 on the top lid and number 33 on the bottom lid — were coated with Haute & Naughty Lash Mascara. Eyebrows were voluptuously filled in. A coral-colored pop of Morange Lipstick was sealed with a clear Lip Glass. Using Pantene Pro-V products, hairstylist Sam McKnight created a voluminous, teased bouffant with cascading, teased-out curls. Hair was parted into sections, clipped to the crown and back-combed to entice height. To protect highly worked hair, Damage Defense Conditioning Spray was applied. The bouffant was sealed with Ultra Strong Hairspray.

After three weeks of nonstop shows, we are entering the home stretch of the Spring season—which means excitement and exhaustion are both at a high. “The girls are getting tired, the skin is getting tired. You can start having little damages,” Tom Pecheux said of battle-worn complexions backstage at Balmain. Although you wouldn’t have guessed that models here had been in New York—or London and Milan for that matter. “The key word is fresh,” Pecheux said of the natural look he designed for Olivier Rousteing’s presentation. “And skincare.”

“It’s the only thing we can do—it’s the only thing you have to do with this look,” Pecheux elaborated of what amounted to “50 percent makeup, 50 percent skincare,” in his estimation. Starting with a triple-threat massage using his standard mix of Rodin Olio Lusso, Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream, and its Idealist Even Skintone Illuminator, Pecheux built a base using either KETT Cosmetics Hydro Foundation or Estée Lauder Double Wear Light mixed with MAC Strobe Liquid for a dewy finish. Eyes were given a highlight with a dusting of MAC’s Eyeshadow Quad in Caramel Sundae. “I’m lazy,” Pecheux joked, sweeping his brush across the peach, yellow, champagne, and bronze palette to pick up a little bit of each shade. Brows were groomed individually—”Iselin has bleached brows and we filled them in. [Juliana Schurig] has bleached brows that we left; Mila has a thin line so we’re adding color not to increase darkness but to increase size, and Manon, she’s new so her eyebrows are virgin. We’re not building them up”—and lips and cheeks were treated to a touch of muted color from MAC’s forthcoming spring 2013 Lip Palette. To give lashes definition without leaving behind visible product, Pecheux “tinted” them using an interesting technique in which he dipped an angled brush into his trusty tube of MAC Haute and Naughty Mascara and hand-painted each hair.

For hairstylist Sam McKnight, the key word was Sade. “She was a starting point,” he said of the eighties singing sensation who made hoop earrings and a slicked-back braid part of her R&B act’s signature. Blowing hair dry with hair spray to create texture, McKnight secured lengths in a ponytail, created a simple, three-strand braid, and tied it off with another elastic at the end. “I wanted it to look like I wasn’t there,” he elaborated of the style’s ease, which necessitated some “little bits” around the front to make it appear more lived in. McKnight also threw around the word “grunge,” as most people have this season, but emphasized that it’s a “new grunge” that we’ve been seeing. “It’s a healthier grunge. It’s not dirty; it’s more natural.”

PARIS — “It’s just a very easy look,” said makeup artist Pat McGrath backstage at Lanvin.
She swooshed some brown-gray cream shadow around models’ eyes and used black eyeliner on the inside of their peepers. The top trace was then wiped away “to make the girls look very cool and beautiful,” said McGrath, who applied foundation powder to skin and a tiny amount of concealer to lips.

“[It is] as if you could do the makeup yourself,” said McGrath.

Hairstylist Guido Palau also went for an easy look, teasing the front of models’ hair for texture and leaving the rest hanging freely. He used a touch of hairspray.

The Hair: Guido Palau created a simple ponytail using very little product: simply water and Redken Powder Refresh 01 dry shampoo for a matte effect. He pulled wisps of hair out around the face to ensure the look wasn’t too severe.

The Makeup: Embryolisse moisturizer was used to prep the face for a look that was meant to be both classic and modern. To achieve this, Diane Kendall paired a strong ”poppy orange red” lip (YSL Rouge Couture #17) with a “shimmery, luminous face.” NARS Gueule de Nuit cream blush applied to the apples of the cheeks lent a bronze-gold glitter.

Nails: Dior Beige Safari.

The Product: Redken Powder Refresh 01.

The Takeaway: Says Palau: “A lot of hair this season is all about ease.”

The Makeup: “Like white silk, a satin color,” is how the makeup artist Lloyd Simmonds described Madina’s “Shiny Stick” tint used around the girls’ eyes backstage at Cacharel. To create a raw, dewy look, Simmonds applied YSL Touch Éclat and its foundation version all over the face with a flush of YSL Creme de Blush in #2 and YSL Sheer Candy Lipstick in 10 and 3.

The Hair: Elnett hairspray was once again the product of choice to secure Odile Gilbert’s trompe de l’oeil pixie cuts with bangs. Hair pieces matched to each model became fringe. The rest of the hair was twisted up on top of the head.

The Nails: “The clothes already have a lot of color,” said Christina Conrad of why she chose Mavalas Maui, a reflective, glittery white.
The Product: Madina Chic & Shine Stick, which is only available in Milan.
The Takeaway: “Always cute and young,” Gilbert said of Cacharel’s signature style.

The Look: “Innocent girl with some kind of darkness,” said the Sacai designer Chitose Abe backstage.
The Hair: “A little spooky” is how Guido Palau described it. “Tim Burton-ish, ghoulish.” This meant creating a natural texture using only Redken Forceful 23, a middle part and then allowing ears to stick out, and finally setting with a wig cap to be removed at the last minute.

The Makeup: Diane Kendall used M.A.C. set powder and greasepaints to balance the girliness of the clothes. Brown was applied to the contour and crease of the eye, reddish brown to the lid and underneath, black close to lash line and smudged below, while white was used on the brow, down the nose and on cheekbones. There was no mascara and eyebrows were brushed and penciled in. Majorca powder blush for a pop of pretty. Lip balm on lips.

Nails: Nars black with glossy topcoat.

The Product: M.A.C. greasepaints

The Takeaway: “There’s still prettiness in a darker world,” Kendall said.

Yes! thanks for all the hard work, flyme2themoon, I rarely have much to add but truly enjoy all the info you provide.

I need that YSL lipstick used at Akris in my life.. it's hard to find a red with that tone of orange and almost neon spin.

Really rooting for color in general for next summer, I've also fallen in love with metallic eyeshadow as seen in Chloé and Dior.. kind of impossible to translate it in real life but my late 90s gene is more than tempted ..

Chloé S/S 2013

Quote:

Senior Beauty Editor Celia Ellenberg's take:
"There's a slight sixties silhouette, but she didn't want the makeup to look sixties," Diane Kendal said of Claire Waight Keller's Spring collection for Chloé. So Kendal borrowed the idea of a retro cat-eye and tweaked it for the here and now with a rectangular shape and an unusual hue: copper.

"[Waight Keller] wanted to use color on the face and this is just the color I liked," the makeup artist said of the Smoked Paprika cream eye shadow from MAC's Fall Trend Palette that she slicked across lids, squaring it off toward the inner and outer corners of the eye and topping it with MAC Pigment in Copper Sparkle.

Skipping the mascara, as has become her signature for Spring, Kendal drew a fine black cream line onto the upper lash line, resisting her usual urge to brush on contours and settling instead for a hint of MAC Blush in Something Special.

"Sort of Twiggy" is how Guido Palau described the deep side parts that were prepped with Redken Wax Blast 10 High-Impact Finishing Spray and its Powder Refresh dry shampoo for a flat, matte texture. "It's got the ease of a half-up, half-down," Palau said of lengths that were pulled into a loose elastic for a style what was neither a knot nor a bun, he insisted, just an effortless, swept-up look. "This season, it's been more about nuance, rather than big statements."

Senior Beauty Editor Celia Ellenberg's take:
Raf Simons' debut ready-to-wear collection for the house of Dior will be remembered as a triumph of a new kind of glamour-infused modernism, a good portion of which came in black, white, and navy. Its flashes of fuchsia, orange, yellow, and a vibrant green were less ubiquitous, although they were plenty present when it came to conceiving the beauty look here. "He brings fabrics," McGrath says of her pre-show meetings with Simons, which have already amounted to one outstanding face-painting effort that saw the legendary makeup artist play with a similar color palette, reimagined as elongated cat-eyes and pigment-dusted eyelashes at Simons' Couture show in July.

"And then we talk about the girl. His girl loves makeup"—specifically eye makeup that manifest itself as Spring's "techno-butterflies," as McGrath tells it, replete with squared-off splashes of bright creams topped with shadows that were dragged across lids and accessorized with Swarovski crystals, lots of them. "There were 55 girls. We started beading at 8:30 in the morning [for a 2:30 show]," she explained of the individual hand designs that were assigned to each model. "Once you've done that, you don't really need anything else," she continued of why skin and lips were left bare and hair was pulled back into sleek, low-slung ponytails at the hands of Redken creative consultant Guido Palau. The one extra touch McGrath did add was a thin black brushstroke along the upper lash line and a few swipes of black mascara to provide definition to her paste-and-place bedazzling effort. Do try this at home.